Jan Colle Gallery, Jakob van Caeneghemstraat 16, 9000 Gent, Belgium

Egon Van Herreweghe and Thomas Min: The Ideal Husband

The Ideal Husband, installtion view at Jan Colle Gallery, 2016.

‘The Ideal Husband’, an exhibition of work by Egon Van Herreweghe and Thomas Min, is primarily shaped by its location. The characteristics of the venue are taken as a starting point for this show, which is a careful survey of notions related to virility, masculinity and manhood in modern times. Review by Josephine Van De Walle.

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham, B1 2HS

Roger Hiorns

Roger Hiorns, installation view at Ikon galley, 2016

Hiorns’ works are charged with a bodily materiality, bio-politics, time and collapse. An atomised jet engine is placed on the floor next to the video work ‘Benign’. A series of paintings in decaying latex depict sexual acts between men, surrounded by clusters of disembodied erections. Review by Cathy Wade.

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Frith Street Gallery, 17-18 Golden Square, London W1F 9JJ

Dayanita Singh: Museum of Shedding

Dayanita Singh, Museum of Shedding, installation view

Carolina Mostert considers Dayanita Singh's 'Museum of Shedding', an exhibition that considers time, change, inspiration and the inner processes of the artist.

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Tenderpixel, 8 Cecil Court, London WC2N 4HE

Rehana Zaman: Tell me the story Of all these things

Rehana Zaman, Tell me the story Of all these things, Part 3 (2016). HD video.

As her close-ups swing between moving hands and accessories, between the cooking and the subtle transformation of facial expressions, the artist leads the viewer into an extremely intimate territory. Bianca Baroni reviews a video installation by Rehana Zaman.

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Serpentine Gallery, Kensington Gardens, London W2 3XA

Lucy Raven: Edge of Tomorrow

 Lucy Raven: Edge of Tomorrow Installation view, Serpentine Gallery, London (8 December 2016 - 12 February 2017)

An oddly anthropomorphic sculpture, ‘Casters’, sets the tone for Lucy Raven’s first solo show in the UK, a diverse collection of works which identify and re-animate marginal spaces of cinematic imagery. Review by Henrietta Landells

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Frankfurter Kunstverein, Steinernes Haus am Römerberg, Markt 44, D-60311 Frankfurt am Main, Germany

Eric van Hove: Atchilihtallah – On the Transformation of Things

V12 Laraki, 2013, installation view at  Frankfurter Kunstverein, 2016.

Having enticed one so successfully, the exhibition steadily introduces the key concepts behind Eric van Hove’s practice, all of which seem rooted in a fascination with the changing cultural contexts of commercial goods. Review by J.D.A. Winslow.

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The Jewish Museum, 1109 5th Ave at 92nd St, New York

Take Me (I’m Yours)

Take Me ('m Yours), installation view at the Jewish Museum, 2016.

‘Take Me (I’m Yours),’ the star-studded group show currently on view at The Jewish Museum in New York, is the third iteration of an exhibition held at London’s Serpentine Galleries in 1995. Review by Arthur Ivan Bravo.

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Turner Contemporary, Rendezvous, Margate CT9 1HG

John Akomfrah: Vertigo Sea

Vertigo Sea

Stark beauty swills with reoccurring images of historical horrors in Akomfrah’s video installation. The work cuts between past and present in a manner that demands the two be examined together. Elizabeth Kane reviews

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Silver End Village Hall, Silver End, Witham, CM8 3RQ

Radical ESSEX | ESSEX Architecture Weekend | September 2016

As an introduction to ESSEX Architecture Weekend, this panel discussion will explores the relationship between London and Essex, mapping out a collective cultural history between county and Capital. Click 'further reading +' for links to other talks from ESSEX Architecture Weekend.

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Tyneside Cinema, Pilgrim Street, Newcastle upon Tyne NE1 6QG

Oreet Ashery: Revisiting Genesis

Oreet Ashery, Revisiting Genesis, video still, 2016

Taking form as a web-series in twelve episodes, originally released weekly in soap-opera style, ‘Revisiting Genesis’ explores, amongst other things, the philosophical, socio-political, practical and emotional implications of the processes surrounding death and withdrawal. Review by Mette Kjærgaard Præst

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Primary, 33 Seely Rd, Nottingham NG7 1NU

Anna K.E.: Leaving the Rock Stage

Leaving the Rock Stage (2016)

Pivotal to the exhibition, through physical dominance and content, are photographs supported by stage trussing. These are structures that would, as the exhibition title suggests, be at home within the context of large stadium gig. Review by Alice Gale-Feeny

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Nottingham Contemporary, Weekday Cross, Nottingham, NG1 2GB

Marguerite Humeau: FOXP2

Marguerite Humeau, FOXP2, 2016. Exhibition view, Nottingham Contemporary. Courtesy the artist, C L E A R I N G New York/Brussels, DUVE Berlin.

The galleries of Nottingham Contemporary are taken over by the relentless echoes of human civilization and the emotional turmoil of elephants - now the dominant species on Earth. Marguerite Humeau’s exhibition, ‘FOXP2’, comprises two immersive installations that exist in the blurred space where science ends and fiction begins. Review by Laura-Jade Vaughan.

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